The focus of my part of the panel was on research ethics, particularly interdisciplinary research ethics. As Carlin (2003) has noted, while LIS is a “net importer of research strategies […and] it could be assumed that research ethics would have been adopted, or formed the basis for debate” (Carlin 2003, p.5), there is still no overarching framework for interdisciplinary research ethics within LIS. In the particular case of my doctoral research (Price 2017), looking outside of LIS for an ethics framework was important, as the subject of my research (fan practice) has traditionally been, and to some extent still is today, considered deviant. Some fanworks/fan practices can be sexually explicit, or otherwise ‘pathological’, and therefore exposure can be damaging to fans. In addition to this, fanworks often exist in a legally grey area copyright-wise, which can expose fans to legal repercussions. As Busse and Hellekson (2012) have noted, fans share their work in ‘semi-private’ or ‘semi-public’ spaces, where they do not expect them to be scrutinised by outsiders, let alone academics. It is partially for this reason that fans may publish their work pseudonymously, in order to protect their identities.

For this reason, in my research I adopted the TWC’s ‘fans first’ framework, which protects fans’ rights to privacy despite their work being developed and published in semi-public spaces. This might not strictly satisfy academic standards with regards to, for example, citations (‘fans first’ does not promote using URL’s to identify the location of fanworks); but it does give fans a token layer of the expected privacy from non-fandom publics. From an academic perspective, the location would still be identifiable by those seeking to verify the information given by using modern online search methods.

The Fandom, Food and Folksonomies panel at ASIS&T 2018 (courtesy of Eric Forcier).

The point of my presentation was to make LIS scholars aware that, when researching fun-life contexts, the groups subject to that research may follow cultural norms that are particularly sensitive and should warrant special consideration. This may be the case in, for example, a study of the information behaviour of BDSM practitioners, queer communities, or of dark web usage. In these cases, there may already be an extensive body of literature in other disciplines that explore the ethics of researching such groups, and it would behove the LIS scholar to acquaint themselves in such literature before undertaking their research. This should allow for a more holistic and sensitive approach to engaging with communities that might be wary of or even hostile to academic enquiries into their (sub)-culture.

The panel itself was a success, not in the least due to the fantastic moderation of Jenna Hartel, the fascinating research presented by my co-panellists, and the discerning questions from the floor. Despite the panel taking place at 8:30am, there was a large audience, and after the panel we were all swamped by attendees interested in our work, which was hugely gratifying.

Afterwards there was plenty left of the day. After a short break I next wandered into the ‘Meet the Editors’ panel, and was interested to hear from Samuel Kai Wah Chu (incoming editor of the journal Information and Learning Science) about the importance of interdisciplinarity to his journal. His focus was on how information science and learning science intersects, and how we can bring scholars from other fields together. My opinion is that, since information permeates and impacts all our lives, information science is, necessarily, multi- or interdisciplinary. What it isn’t so good at is communicating to other disciplines with which its research overlaps, and so I was glad to hear that other scholars in the field are taking this question seriously.

I next went to the Knowledge and Information Organisation track. The first paper, delivered by Oksana Zavalina, presented research on the implementation of RDA standards in libraries worldwide, and over time, which I found particularly interesting, as my place of work is currently implementing RDA, or at least the bare minimum of the standard. Due to a lack of man-hours, we are unable to retroactively update old records, although we are doing so in an ad hoc and piecemeal manner – so it will indeed be interesting to the results of RDA uptake in a longitudinal study.

The second paper, Reconceptualizing Superwork for improved access of popular cultural objects, was of particular interest to me, as, of course, the organisation of fanworks (a type of popular cultural object) is a subject close to my heart. The presentation, delivered by Jacob Jett, was excellent, and gave much food for thought. Fanworks were not included as objects in the superwork hierarchy per se, although there was discussion of if and how they should fit in, and the authors indicated that they would be considering fanworks in future research. Julia Bullard and myself had an interesting back channel conversation about it on Twitter during the presentation (see below for the thread). My opinion is that fanworks are intrinsically tied to the superwork (or source text(s)), and would certainly appear in a hierarchical model under the superwork. The Archive of Our Own’s classification system, also hierarchical, is an excellent example of how fanworks relate to a superwork (see their Gundam page for an example).

The final keynote, delivered by Zeynep Tufekci, was a fantastic end to the day, and very topical considering the ‘post-truth’ age we now live in. Zeynep’s talk focused on how we have evolved from information censorship to information ‘distraction’ – our current state of information glut is an effective way of distracting from ‘inconvenient’ information that the powers that be do not want us to see. Fake news and click bait has proved to be a far more effective and insidious form of censorship than censorship itself. The talk was inspiring and very pertinent to the responsibility we, as information professionals and scholars, bear in current times.

All in all, I had a fantastic time at ASIS&T, not only for the stimulating and inspiring content, but also for the fantastic people I talked to and shared research with. This was a great opportunity to connect with the wider LIS community, both intellectually and personally.

This may seem like a bit of an oxymoron, especially nowadays when most fanfic is published online and most fans aren’t even aware it exists in book form. When you say ‘print fanfic’, most people think you mean fanzines. But I’m talking about books, actual fanfic printed in book format. I can’t say exactly what spurred on my sudden decision to collect fanfic books, especially when a good portion of its contents already exist online, and free. Maybe it’s just the bibliophile in me. Maybe it’s just the librarian in me. Maybe it’s just the collector in me. Maybe it’s just the fan. Most likely it’s all of the above.

I was first introduced to the idea of fanfic in book form in the mid-2000’s when my sister’s friend sent her a beautiful illustrated book of her fanfic (which I briefly mentioned a long time ago in a previous blog post). It looked so gorgeous, so professional, that the concept stuck in my mind, and a few years later I published my own fic in book form. This was more for my own benefit than anyone else’s. I just really wanted to hold my own words in my hands, to leaf through them, to annotate them, to put them on my book shelves just like the other treasured tomes I possess. It turned out that there were a small number of fans who also wanted copies, and so I opened up access to the books on Lulu.com

The first few books of my new collection…

It wasn’t until I started research on my Ph.D. that I discovered that the fanfiction book was more common than I first thought it was. I was doing a random search for my ship on Amazon when I discovered a certain book that I may also have mentioned in a previous blog post. I bought a copy (for research purposes initially), mainly because I was intrigued that this book of fanfic was being sold (presumably for money) on a major online bookstore, and had an ISBN (Lulu.com will make these books available at major bricks-and-mortar bookstores, such as Borders, in this case). I haven’t linked to this particular book, since I don’t want to risk drawing the attention of rights-holders to the author, due to the work’s legally grey area.

At the Fan Studies Network Conference last year, I was shown some gorgeous fanfic books, also printed by Lulu, by an acquaintance, and this again reminded me that ‘this was a thing’. At this point, I actually did a little bit of digging into the phenomena and discovered the notorious case of Lori Jareo’s Another Hope, a Star Wars fanfic book that was sold in major bookstores, and was finally shut down by Lucasfilm in 2006. At the time, it caused significant ripples in the fan community, who were afraid that the furore would cause a backlash from the Powers That Be against fanfic itself. Taking a look around the net, I was able to find that there was quite a sizeable amount of fanfic books out there, and since this seems to be a little-known area of fandom (and fandom research), I thought I would start up a collection of my own – for both research and entertainment purposes.

From a research perspective, there are three strands to my interest in collection fanfic books. The first centres around changing modes of publication. In the digital era, print-on-demand (POD) has meant that self-publishing has become an affordable reality for many, and there is no longer the stigma of publishing through a ‘vanity press’. This suggests that the internet has afforded yet more ways for fans to publish their work, apart from digital or amateur press avenues.

On the shelf…

The second area of interest revolves around the materiality of the book, and the fact that some fans still like to have their work presented in a physical format; and that others still like to buy physical written works, despite the free/gift culture that exists within the fan community. I suspect that this may have something to do with idea of collectability – that there exists in the fan the desire to possess physical tokens of their fandom, the collective size of which may bestow fan capital. This interest in owning physical works is especially interesting considering the recent decline in e-book sales. Could the phenomenon of fanfic books tell us something about why print books sales are once more increasing?

The last strand of interest for me is that old chestnut – copyright. Needless to say fanfic books occupy a grey area legally, and even if they are not being sold for profit (i.e. sales only going towards the cost of production and/or shipping), does this let them off the hook? Do they still constitute fair use? And what drives fans to sell print versions of their fanfiction despite the legal nightmare experienced by Another Hope over a decade ago?

I’m not expecting my collection to answer any of these questions. What it does make me think about however, is that fanfiction books occupy a unique place in the long history of print. One day, I hope, my collection will be the basis of a public institutional collection that can be enjoyed by all.

* I’m currently taking donations to my collection. If you’re interested in donating, please reply to this post, DM me at @ludiprice on Twitter, or email me at Ludovica.Price.1 (at) city.ac.uk. Thanks! 🙂

This list is intended to be a resource to other UK (fan)zine researchers. It is by no means exhaustive and is a work-in-progress. Please contact me via the comment box below if there are any that are missing and that need to be added. It was originally drawn up for a paper/presentation, ‘Fan Fiction in the Library‘, delivered at the Fan Studies Network Conference 2016 (paper currently in press) with Lyn Robinson.

Ten years ago Abigail De Kosnik introduced her concept of ‘archontic literature’, which describes fan texts (and indeed many other texts in the canon of Western literature) as additions to a global archive of cultural texts, an archive that writers draw upon to create their own works, thus expanding and enriching the archive that already exists (Derecho, 2006). Works such as Death Comes to Pemberley by P. D. James build upon the ‘archive’ of Jane Austen’s Pride & Prejudice narrative; Tom Stoppard’s Rosencrantz and Guildenstern are Dead builds upon Shakespeare’s Hamlet; countless tales around the world build upon the archive of ancient folklore and mythology that have enthralled us across many eons. As a student of Library and Information Science (LIS) – and an avid fanficcer – the idea of fan texts as literal and figurative documents in an ever-growing and ever-expanding archive of human culture immediately appealed to me. The appeal grew to reinforce my opinion – or intuition – that LIS and fandom are intrinsically intertwined. For if fanfiction is archontic literature, part of a grand cultural archive, who then are the archivists? The answer, of course, is the fans themselves.

In Rogue Archives, De Kosnik updates the concept of ‘archontic literature’ to ‘archontic production’, crucially expanding it to include other forms of fanwork that do not involve creative writing, such as fanart, fanvids, fanfilms, podfic, cosplay, mods etc. This expansion of the ‘archontic’ concept here is much more satisfying in that it brings in the entire range of fan production and allows it a space within the cultural archive. Fanfiction is no longer given precedence but is simply a part of the sum of fandom’s archontic outputs. Whilst the expansion of the term bolsters its theoretical implementation, it also brings it more in line, both conceptually and metaphorically, with actual archives, which of course are not merely repositories of the written word.

As far as I know, Rogue Archives is the only book that explicitly links LIS to fandom. Within fan studies, there have been several articles that comment upon classification practices and information behaviour within fandom (e.g. Versaphile, 2011; Johnson, 2014; Thomas, 2016), although few draw explicitly upon the field of LIS and its methodologies to do so. Likewise, the field of LIS has done little to engage with fan information practices, despite a growing interest in information behaviour within leisure contexts. LIS literature on fan information behaviour is few and far between, though some does exist, e.g. Hart et al. (1999), Adams (2009), and Bullard (2014; 2016), albeit with limited impact. What Rogue Archives does is unequivocally link the language of both disciplines (admittedly with a focus on the fan studies angle, which is understandable given the context of the book) for the first time. From my perspective at least this is a welcome surprise, if only to reaffirm that I’m not in a club of one.

What is also fascinating about Rogue Archives is the fact that it also incorporates concepts from performance studies – an angle which the library school I’m studying at, #citylis, is also heavily interested in (we recently held a symposium, Documenting Performance, which brought together parties from both performance studies and LIS to discuss the ways in which we (can) document complex documents such as live performance). De Kosnik’s book was an enlightening foray into the idea that fanworks sit squarely on the boundary between the documents of the traditional analogue archive, and the embodied, temporal works of the performance arts. There is an apparent dichotomy between what we call the archive and what De Kosnik and others call ‘repertoire’, as she explains:

“Repertoire” transmits knowledge through processes of embodied mimesis, one person imitating what another person does, while “archive” transmits knowledge through recording technologies […], one person decoding the knowledge that another person has encoded in fixed form. (p.54)

What Rogue Archives does is to break down this seeming dichotomy, by showing how fans use both traditional archival practices and repertoire in order to build the ‘rogue archives’ that fan archives encompass (i.e. they are universal, community-driven and alternative). Whilst fan archives, such as FF.net and AO3, do seem to be like the usual digital archives on the surface, they reject many of the practices employed in traditional archives. There is no formal collection policy; archivists are ‘techno-volunteers’ who learn their tasks through repertoire, through following the example of more experienced fans or mentors. They are based on passionate practice rather than professional practice. They represent active cultural memory rather than passive cultural memory.

What is important here is that popular culture is constantly moving, evolving. Fanworks (which are now largely born-digital) are also constantly shifting and dynamic. They are subject to the whims of their creator, constantly edited, abandoned, unfinished, remixed, reworked, deleted, lost. Ephemeral, dynamic and rarely instantiated in a single, fixed form, fanworks share much in common with performance art and it is therefore difficult to submit them to the rigidity of formal archival process. This affinity with complex documents leads fan archivists – ‘techno-volunteers’ as De Kosnik calls them – to effectively bridge the gap between the immovable, analogue world of the traditional archive, and the performative, non-reproducible world of repertoire.

De Kosnik is skeptical of what LIS can do for fandom. As she notes herself, fans have been “dedicating themselves to digital cultural memory work [since] the early 1990s, just as the Internet and the World Wide Web were becoming integral to daily life” (p.12) – ironically, fans have been digital archivists a lot longer than digital archivists have, and have the corresponding expertise. This is mirrored in the responses of some current LIS students I surveyed earlier this year for my ‘Fanfiction in the Library‘ paper, delivered at FSN2016 in June (Price & Robinson, 2016). There was the idea that fans manage their own archives ‘just fine’ themselves. There is also a wariness of LIS imposing itself on the practices fans have already developed in order to preserve their own cultures. That is why I believe that any attempt at collaboration should involve the utmost respect and understanding on the part of LIS in preserving digital fan culture. It is also why I believe that there is a lot LIS can learn from fans, which is why I am researching what I am – and which is what Rogue Archives proves in spades. I am reminded of the Games Culture Summit earlier this year, where one of the speakers talked about her institution working with gaming fans on the best methods for archiving and preserving videogames. I think this serves as an encouraging example of what can be achieved when fans and LIS professionals work together. Pooling together our different but equally important expertise can help create a ‘best practice’ for the preservation and organisation of a growing type of complex and/or dynamic materials that LIS professionals are currently finding a real challenge to deal with.

At the very least, what Rogue Archives proves to LIS is that ‘serious leisure’ (Stebbins, 2001) has been the breeding ground for many new, innovative and significant ways of preserving human culture, methods that it has taken little notice of in the past, but that may yet be able to inform the discipline’s future.

References

Adams, S. (2009). What games have to offer: information behavior and meaning-making in virtual play spaces. Library Trends [e-journal]57 (4). Available at: http://dx.doi.org/10.1353/lib.0.0058

They do say that if you want to write a blog post about an event you have to do it straight after, otherwise the glow soon fades. I regret to say that in the case of the Fan Studies Network Conference 2016, I fell prey to what seems to be the bane of the blogosphere – you go to the event, you leave all jazzed and inspired, you get home and real life distracts you, and then the ship sails and it’s too late.

But they also say ‘better late than never’, and so here I am, writing my blog post on #FSN2016 after nearly 5 months of reflection.

Selfie with Henry Jenkins. It had to be done. 😉

What I will say first is how much FSN had grown even since 2015. There were so many more people, and the atmosphere was buzzing – there was a general feeling of excitement in the air. Of course, the buzz may have been something to with the fact that Henry Jenkins was giving the keynote; but in my case it probably also had something to do with the fact that I was presenting this time, along with my supervisor, Lyn Robinson, on the ‘Using the Archive’ panel. Our presentation, “Fanfiction in the Library”, sought to give an overview of fanfiction in libraries within the UK. This might seem an unusual area of research, as one is very unlikely to have ever seen fanfiction in a library before. I feel that our interest was prompted by two main areas:

The growing evidence (as seen in my doctoral research) for fans as accomplished practitioners of information work, who build their own collections (both on and offline), who display highly sophisticated information behaviours, and who work collaboratively to create, share and maintain collections;

The growing interest in the fanwork as a cultural document worthy of collection, not merely by fans themselves, but by memory institutions (e.g. the expansion of fanzine collections within UK libraries).

Three different methods were used to glean an overview of fanfiction (and fandom) in libraries within the UK:

A literature review of past and present research into the concept of fanworks as documents, or as parts of a wider collection;

A study of the collection policies of 10 UK libraries, and whether the collection of fanworks or fanfiction comes under their remit (it doesn’t);

A survey of current #citylis students and alumni, asking them about their current awareness of fanfiction and fandom, and whether fanfiction or fanworks should be collected in libraries and other memory institutions.

Fanfiction in the Library!

The intention was not to promote the collection of fanfiction in libraries across the UK per se; rather it was to begin a dialogue between the LIS and fan studies communities on the subject. Whilst there seems to be a strong feeling amongst the relevant literature and most of the surveyed students in our study that fanfiction is culturally important and worth preserving, there is an equally strong feeling that collecting it is fraught with issues. Both fans and librarians can agree that fanfiction is not like the ‘usual’, standard literature one might find on the shelves. Most fanfiction nowadays is born digital, and is rarely instantiated in one fixed state – it can be constantly updated, edited, reworked, rehashed, removed, and sometimes just never even finished. What if the author does not care for their work to be collected? What about the perennially thorny issue of copyright?

These are just a few of the valid questions raised both by the #citylis students and the audience during our panel. It was heartening to find that there actually was a dialogue to be had about this topic, and that many people in both the LIS and fan communities were interested in preserving fanworks – or at least in entertaining the idea. During the research phase, I was particularly interested to find that a large proportion of the interviewed students were aware of fanfiction and were fans themselves – and that some of them read or wrote fanfiction, or had created their own fanfiction collections. This indicates that there will be a sizeable percentage of both future and current library and information professionals who are willing to entertain the idea of collecting, curating and managing fanworks and other non-traditional media in more mainstream and/or professional bibliographical contexts. Likewise, the interest shown from the fan studies audience at #FSN2016 indicated a willingness to start thinking of ways in which fan culture and its many outputs can be preserved for future posterity – or indeed, whether it should be preserved at all.

I think that goal – the goal of starting a dialogue – was achieved in abundance during #FSN2016. I’m not sure whether the dialogue has continued, but I’d like to see it do so. At the very least, I feel that there is so much that LIS can learn from the collaborative, participatory, creative and generous model of information behaviour that fans show. But do fans want to make a concerted effort to preserve their creative work, and should information professionals become involved in that process? The contributions of volunteer librarians and other professionals, as well as passionate amateurs, on AO3 shows the greatness that these kinds of collaborations can achieve. The recent publication of Abigail De Kosnik’s Rogue Archives: Digital Cultural Memory and Media Fandom has convinced me that this is a more timely moment than ever for us all to work on the cultural preservation of fandom. I’d be happy to carry on the conversation with anyone else who’s interested. 🙂

A long overdue thanks to the amazing folks at #FSN2016 and the fan studies community for the fun and intellectually stimulating conference! I had a whale of a time and yet again met some truly stellar people. I just wish I’d had the time to meet more. But then, I guess there’s always next year! 😉

The “Fanfiction in the Library” presentation is available here. (The paper is currently being edited with a view to publication).

This post focuses on the information sources and resources that the 31 members of my Delphi panel mentioned in their responses.

The main finding in this section of the study found that overwhelmingly, the primary or source text is the key source of information for cult media fans. Whilst online sources take up the largest percentage of sources used by panel members, offline sources, or those that are neither specific to digital or analogue forms, were also widely used, thus supporting the view that fans are comfortable using a wide range of resources to gather news, seek out trivia, research projects, and share information about their fandom.

The first round of this study also seems to show that fans use a wide variety of resources, from ‘official’ sources to fan-made resources. In the case of official sources, this is not merely restricted to the source text or canon, but also includes such things as interviews, tweets and Tumblr postings from actors/writers/creators/producers, printed art books, promotional materials and other merchandise. As for fanon and fan-made resources, there are obviously other fanworks, but also fan talk, wikis, rec lists, social media, and so on.

The following table gives a run-down of all the information sources and resources cited by the Delphi panel’s 31 participants. The list is broken down into three sections – online, offline, and specific to neither of these media.

The following is an excerpt of a transcript of an interview between myself and the Fansplaining podcast. The interview is about my research into fan information behaviour and is featured in Episode 19 of the podcast, Cataloging Fandom. The transcript in its entirety can be read on the Fansplaining blog.

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Fans collect… but they also catalogue.

Flourish Klink: Hi, Elizabeth!

Elizabeth Minkel: Hi, Flourish!

FK: And welcome to Fansplaining, the podcast by, for, and about fandom!

ELM: This is episode 19, Cataloging Fandom.

FK: And we’re gonna be talking to Ludi Price, who is a PhD student and a librarian and she’s working in information science and she’s going to talk about why fans are interesting in that arena.

ELM: Right, and we’re also going to take the opportunity to exorcise all of my lingering feelings about my master’s degree, which was in this realm.

FK: Oh, exOrcise, not exErcise! Exorcise.

ELM: Yeah, like a demonic possession.

FK: The power of Christ compels you kinda thing.

ELM: Yes. The power of Christ does compel me.

FK: Right.

ELM: Kinda thing. Cause I got a master’s degree in the digital humanities two years ago now, and that’s, at that university it was in the broader realm of information studies, which includes information science, librarians, archivists.

FK: All that good stuff.

ELM: Yeah it’s great stuff.

FK: So you have feelings about that.

ELM: Yeah, I have a lot of feelings about it. No spoilers.

FK: OK, should we just talk to Ludi then?

ELM: OK, um, and after we talk to Ludi we’ll read a couple of—we’ve been tagged in a few Tumblr posts recently and so we wanted to talk about one of them and we got an email that I think referenced, what episode was that where we talked with DestinationToast about yuri?

FK: It was several episodes ago.

ELM: Lord only knows. It was some time ago. So we got a thoughtful email about that so we can talk about that too.

FK: Alright, so, shall we talk to Ludi?

ELM: Let’s call her up!

FK: All right, let’s welcome Ludi Price onto the podcast!

ELM: Welcome!

Fandom at #citylis: Wolverine and Thor pinatas

Ludi Price: Hello! Thank you! Great to be here, I’m very flattered to actually be asked to come on here, because not many people know what I do or understand what I do, so yeah, it’s great to talk about it!

ELM: That’s a perfect setup for us to say “what do you do?”

LP: Ah, ok. I am many things, but part of what I do right now is I am a PhD student at City University London in Information Science. And I am actually researching the information behavior of fans. But at the same time I’m a librarian part-time. There’s kind of interconnections there. And of course I’ve also been a fan since I was a little girl.

FK: Information science—I understand, I think I understand what a librarian is at least on some level, but what is information science?

LP: Ah, OK. Actually this is a bit of a long story, because library and information science, the two disciplines, there’s a lot of overlap between them and they’re usually lumped together but they are slightly different. So I would say that information science is kind of the overarching discipline. So it’s the science of how we deal with, as human beings, information. So a lot of it is to do with the information chain, how do we create, find, seek and actually find, collate, disseminate, share, and organize information.

So it’s not actually a chain, a linear chain, it’s more like a cyclical chain, so we create, we organize, we share. Library science is kind of, I don’t want to say an offshoot of it because that’s disrespectful to librarians, but it’s, it’s the same but it’s to do with specific collections, basically. So in a library you will have a collection of some books. And then intertwined with that is the idea of documentation and documents themselves of which from my perspective you would consider fanworks as documents, and how are they collected and shared.

FK: OK so fanworks are documents, then what’s interesting about fans and the way that they deal with this stuff—it seems like everybody must, everybody encounters and deals with information, why are fans especially interesting in this way?

LP: Well, you’ve kind of hit the nail on the head because everyone in their everyday lives encounters information, from the books you read to even like bills and just general everyday things like that. Information science in itself as a discipline is more interested in kind of the more professional aspects of that, like how do certain groups deal with finding information. For example how do lawyers find information and what do they do with it. How do teachers deal with information. How do students deal with information.

And it’s only fairly recently that people have started to look into the more everyday aspects of information behavior. How do individuals deal with their own personal information, for example. And there’s also been kind of a movement towards how do people, I don’t know, people who are enthusiasts and hobbyists, how do they deal with information. Because a lot of what they do doesn’t have official channels or official sources, resources to gather information from. A lot of what they do they kind of document themselves and fandom is closely related from an information science point of view to the information behavior of hobbyists and collectors and enthusiasts and volunteers and things like that. Because they work outside of official channels and a lot of what they do is from their own kind of passion about or obsession, dare I say, with something. So yeah, there is kind of an interest in the more informal ways of sharing information in the information sciences. And fandom is a part of that that has been largely ignored, in fact almost totally ignored, and even though people are starting to pick up on that, that’s something that I’m interested in.

ELM: Yeah it’s funny because one thing that struck me a lot while I was doing my master’s was how much of the behavior that was being studied in terms of information organization or behavior seeking online was around academia.

LP: Mmhm.

ELM: And it did seem to me a huge oversight that everything I’ve always encountered in fandom seemed so much more exciting and richly organized and built as opposed to the stuff that we were studying.

FK: But, wait wait wait, actually it would be helpful to me if we could be concrete about what the stuff you’re studying is. Because I just heard a bunch about how people study, yeah, academics or whatever, but they ought to be studying hobbyists and maybe they’re beginning to, but what is the thing that you’re studying? Is it the way that people find fanfic or find fanvids or the way they bookmark them, or like… what is it?

LP: So I’ve taken on a humongous task of trying to research the whole information chain so everything from how fans find fanworks or whatever or information to do with their fandom all the way through organization of these works or whatever to actually how they share them with each other. So this is a really huge topic because no one has actually ever looked, to my knowledge no one has ever actually looked at the whole information/communication fans as fans do it, basically.

But obviously because of time and whatnot I’ve had to focus in on certain areas. So in my first year what I actually did was a literature review which was basically trying to synthesize the literatures of library and information science and fan studies and see if there was any kind of commonality or any research that overlapped on each other. So I’ve found out some stuff from that about how fans tend to go for informal information resources, how they come up with their own vocabularies, ontologies, taxonomies, things like that. They’re very generous with what they share and what they do.

FK: OK so just to make sure I understand, if you’re talking about, like, fans coming up with a vocabulary and taxonomy and stuff, so one thing you might be interested in would be like the Archive of our Own tagging system? Or vidders.net and the way vids are organized within that?

LP: Mm-hm! Yes yes.

FK: OK.

LP: Exactly. And that’s actually something that I’ve started to look at in my third year, which I’m in now, I’m actually gonna do some social network analysis but not social networks—tag network analysis of Archive of our Own, Tumblr which I just want to give a shoutout right now to DestinationToast cause she’s really helped me with that, she’s come up with some awesome Python scripts to help me collect data from Tumblr which is really difficult to do.

ELM: That’s awesome.

LP: Thanks to her, she’s great! Also I’m looking at Etsy cause another thing I’m looking at is fans who are not entrepreneurs but are fans who sell their work as well. So yeah a lot of what I’m focusing on this year is tagging practices, classification practices, vocabularies, things like that.

FK: Sorry to have cut you off Elizabeth, because I just felt like I had so many questions and you already know what she’s talking about and I have no idea!

LP: (laughs) that’s fine, that’s fine! That’s cool.

ELM: I just wanted to throw academics under the bus—but you’re an academic so maybe I shouldn’t!

LP: (laughs) If you wanna go off record that is absolutely fine! (all laugh) I do not mind at all.

ELM: No it’s just like, I often felt like, you know, say you wanna study how people communicate and organize on Twitter for example, you have to pick a subgroup, you can’t just say you know. And it just felt like the default was to pick academic Twitter, which sometimes I just felt like it was a strange way to draw conclusions. I mean I just—you can see it, in fan studies more broadly, people will in a very social science way focus on a very small fan community and then draw some, I feel like a lot of times they don’t even draw bigger conclusions because they just observe. And you’re like, or like, I would get this in DH—that’s digital humanities, Flourish, just so you know.

FK: (sigh-laughs)

ELM: They’d be like “we studied an email group of 20 people, and 2 of them said this, and 4 of them said this.” And I’d be like, OK. I just—I, you know, I guess cause I was a journalist before and I’m a journalist after and during, I don’t know what this tells us. I don’t want to put you on the spot and make you defend academic study. So. (laughs) I can cut myself off.

FK: But you are a little bit. (Ludi laughs in background)

ELM: No! it sounds like you are, it sounds like you have a bigger scope though, or maybe that’s not true?

LP: To a certain extent. I think with anything in academia, especially with anything in LIS, Library and Information Science, the problem is that it’s such a huge area. Information as you said comes into all aspects of our lives and so by its very nature, if you’re studying it, you have to focus on a certain subset or group. It’s hard to make generalizations from all that.

ELM: Right.

FK: How much do you draw conclusions from, how much of this is about just observing behavior and how much is about improving practice in other areas, so like, learning lessons in one area and then applying those lessons to another? The reason I ask is when, since ebooks have become a thing that everybody does the way that, I really personally wish that ebooks were organized in a way that was a lot closer to fanfic archives. Right?

ELM: Mm.

LP: Yep, yep.

FK: Because fanfic archives are clearly superior at actually directing you to what you wanna—I mean like this is an opinion, but. And it sometimes is irritating when people talk about the “new developing area” of this and it’s like, yeah, there’s been a ton of you know, native online texts that have existed for years that have been in archives that have had this practice. So is some of that work about just like observing even if it’s a small community, a community that seems to have made an innovation or to have something working for it and then applying that to other areas?

LP: Yeah definitely. That is actually one of the aims of my thesis is to see how this work, all these findings can actually feed into the discipline of information science itself, or not the discipline but practical uses of it, basically. Can we harness information practices, the passion, the investment that fans have in organizing their works, which is not—it can be creative but it’s just a practical way of organizing your fanworks. And fans are brilliant at doing that. I might say that some, many, most of are even better than professionals at doing it.

ELM: Yeah!

LP: And (laughs) I really want to make library users and other librarians as excited about the work they do or the resources they’re accessing as fans are. I’m really lucky that actually my PhD supervisor is really supportive and she’s really into the whole fandom herself. She really inspired me because I never even, when I finished my masters I just thought I was gonna go on a library career path, librarian career path. And then she was like, Ah, you know, have you ever thought about doing a PhD? And I was like um, kind of no maybe? And she was like, well, have you ever thought of doing a PhD about how fans deal with information? And I was like say what? This is potentially a thing?! I was like yeah, okay! And luckily she helped me with my proposal and I was lucky enough to get funding for it, so that’s really cool.

And she was really into this idea of new forms of documentation and new forms of looking at works. And I think this is a time of, even though there’s a lot of cuts in the library and information professions, in England anyway probably where you are too, there’s a great push for innovation and a great push for library and I don’t know museum archives. The users of these and memory institutions to actually get involved in helping to organize and share and get people excited about collections. I don’t know if you’ve seen things like GalaxyZoo and the World Archives Projects and stuff like that, TranscribeBentham, these projects where they want people who are really excited, amateur historians and genealogists and things like that to actually come and look at the work, transcribe it, to tag it and stuff like this.

For the library and information professions this is a really exciting and amazing thing! It’s like, we can harness the passion of the public to actually come and do this stuff for us! And it’s like, this is not a new thing, fans have been doing this stuff for years. And they are just amazing at doing this stuff!

ELM: This is interesting to me and I’d be really curious to know, and I don’t want to go too deep in the weeds, but like, so TranscribeBentham is the like—TranscribeBentham, Flourish, is (laughs) is the—

LP: Sorry about this!

FK: (laughs) What’s funny about this is I actually know a great deal about both TranscribeBentham and the digital humanities but I will be the official person who doesn’t know things about things so you can explain them!

ELM: (sputters) No it’s just like we have to explain it for the listener—

FK: We do, we do!

ELM: (doubtful) You know a great deal about TranscribeBentham, really?

FK: Well, I had a long conversation with somebody about it actually when I was in London last, so that’s the only reason I know.

ELM: With someone who was involved?

LP: Oh really?

FK: No, somebody who’s in digital humanities, about it.

ELM: So Flourish, I won’t Benthamsplain to you, but for the listeners, (laughs) Jeremy Bentham is a—

FK: (giggling) Benthamsplain!

ELM: Spiritual founder of—

FK: A corpse.

ELM: —of UCL, he’s not the actual founder of UCL but he’s like the father of UCL, he’s a what, late nineteenth, late eighteenth century early nineteenth century philosopher?

FK: And now he’s a corpse.

ELM: —real chill, and so his body is in the—(Ludi laughing in the background) He was super chill though, that’s his thing, right? Like, and (laughs) he invented the panopticon? Yeah, his body is in the hall at UCL—

ELM: As you know, OCR, text recognition software can’t handle handwritten text, particularly from way back in the day. So they have all of his archives so they created this project where it’ll be like fun for the public. I shouldn’t make, sound so flippant, some people enjoy it. Where they transcribe his letters piece by piece and tag it very lightly with XML, and then there’s someone who works on, like, cleaning up the work of the public.

And as far as I know most of it is done by like half a dozen individuals who are just very dedicated. One woman used to watch EastEnders every night and now she, (laughing) now she transcribes Bentham. Just like, fine! That’s cool! It’s interesting! But I, one thing that really struck me, at UCL I had no less than 150 lectures about this project in my various classes. Which was a little frustrating since we all had to take the same classes.

LP: I’m sorry. I’m sorry to bring it up.

ELM: I’m traumatized.

FK: There’s other projects like this too, right? Like the New York Public Library recently did a thing with menus, which also are hard to OCR.

ELM: Right, there are all of these image projects, even Google was trying to get people to tag their shit for them. The thing that really struck me though when I hear about things like TranscribeBentham, and this gets back to what we were just talking about—I kind of bristle at the, like, academic embrace of this unpaid labor. So they’d be like, in what you’re describing they’d be like “the public is gonna love this and we have a free source of doing this work that would take a billion hours and tons of resources that we just don’t have.” I thought that was a weird strategy to kind of, fall, rely on. It was being treated like this was a default thing that was just gonna happen.

In fandom it’s different because I think there’s a lot of interesting questions of unpaid labor in fandom, but like, it never would occur to me to say like, if I was like “oh can we all look through these Sherlock screencaps to see if we can like catalog X, Y and Z,” people would just do it, and you’d be like, of course I’m doing that, I love that, you know? And so that’s the tension and the difference and I’m wondering if you’d care to comment on that. Sorry that was long.

LP: That’s OK! Yeah it’s difficult obviously there’s a tension there. And you know, I was a member of World Archives Project for like three years, and I never saw it as unpaid labor cause it was fun, it was enjoyable, and it was something that I really liked to do, and yeah, I don’t know if there’s any easy answer to it.

FK: Well isn’t there also a question about who it’s benefiting? We all do things that are unpaid labor that make, sort of, the world nicer, right? This is one of the questions about sort of the quote “emotional labor” that people go through, like, when we’re in public, we hold doors for other people even if we don’t know them.

ELM: Is that emotional labor?

FK: I think some people would say it is.

ELM: Aw, it’s not that hard, guys. Who are complaining.

FK: But also when we, you know, like with our friends we share things, in order to make a—like in an office we all agree to do things. And so there’s a question of, like, it’s one thing for Google to ask people to tag things that are then going to benefit Google’s algorithms and benefit Google’s ability to make money off of stuff and it’s another thing to be like, “here is an archive, here are the letters of Jeremy Bentham, they are public, they are for the public’s use, and in order for everybody to get more use of them, which everybody has…”

ELM: I think Google having, like, working on their algorithm for image search is vastly more beneficial to the public.

FK: Yeah but it ultimately results in, Google owns that algorithm. It may be more beneficial for the public but Google still ultimately owns it and makes money off of it.

FK: But you see what I’m saying right, because on the one hand it’s beneficial for the public to do that but on the other hand you’re literally giving value to a corporation that you don’t own any part of, whereas Jeremy Bentham’s letters are, I guess I don’t know for sure that this is the case but I assume that they are in a charitable situation, right.

ELM: Cause he was just so chill, right.

FK: Well, most university—

ELM: Right, cause they just own them. UCL has them. This kind of leads back to something that I wanted to, kinda carry along with the comparison between what you were talking about before, fans’ natural inclination to organize and desire to do this stuff, and trying to bring that into the realm of you know professional information organizers, librarians and information scientists.

I have to wonder if you see a tension there too because like, just like I’m saying with I can’t imagine that anyone would want to transcribe Jeremy Bentham’s letters—and I understand that there are people that are and I’m not meaning to disparage them actually, like, thank you for your labor or your passion which is not labor! I’ve had a lot of jobs where I’ve had to organize large amounts of information and I enjoy that in my, like, OCD quelling kind of way, but it’s nothing like the joy that I get in fandom organizing and seeing the way things are organized. And I wonder if you think that that’s something that’s like, that’s surmountable, or… does that make sense?

LP: Yeah it does, it makes a lot of sense. And the more I look at the subject the more I don’t know if it’s achievable. I mean, last year I actually did a talk about trying to harness that passion in your library users that fans have, and they were just like, “we don’t see people becoming that obsessed with what we have.” And someone said, “your users would need to have a huge investment in your collection, like fans have in their fandom.” And is it possible to kind of induce that in your users? When an academic library can’t even get their academics to tag the books in their library system catalog in the area of study that they are seriously invested in and hopefully passionate about? If academics can’t be bothered to do that…

FK: Does it, do you see any difference with genre fiction? Because something I definitely wondered about was, full disclosure the thing that bothers me in the ebook universe is romance novels of which, which I think are sort of the closest officially published thing to fanfic, I mean that’s how I see them.

LP: Yep.

FK: And I enjoy them for the same, for some of the same reasons that I enjoy fanfic, and so it really grates my cheese to not be able to find romance novels in the same way I find fanfic.

ELM: Grates your cheese, Flourish, wow.

FK: Grates my cheese. And I think that there’s a lot of other romance readers who feel the same way, and I know that because romance readers tend to create their own, like, incredibly complex libraries and have extreme ebook cataloging, like, for themselves, but I haven’t ever seen that for a community out in the public.

Fandom stats – a way of looking at the tagging behaviours of fans on the internet

LP: Yeah, that kind of ties into some of the studies that have been done on hobbyist collectors and stuff like that. And a lot of what they do they do in a very insular world. The difference between the information behaviors of hobbyists and enthusiasts etc. etc. is that fans do it in a participatory way. They will organize and collect and classify and do all this stuff but they will share the fruits of their labor online and say, “this is up for grabs, you can copy this, you can use my vocabulary, whatever.”

Hobbyists don’t tend to do that. I mean they might do in a kind of physical meatspace club or something. But they don’t tend to do it in large scale, en masse movements like fans do. And what you’re saying about romance fiction and stuff like that, I’m sure there are a ton of people out there who have classified and made collections and stuff. But they don’t come together to share that. And I think probably some of the stuff that they are doing would be of great interest to publishers or the ebook creators or whatever.

And I think that this is where the intersection comes with what I’m doing with fans and what we’re saying about romance readers for example.

FK: You know it actually, while you were talking it occurred to me that maybe GoodReads is the closest thing that we have to that.

LP: Yep, yeah, I think you’re right.

FK: It doesn’t have the same robust tagging system but there are things people will make like, a collaborative list of every, here are all our favorite forced marriage romance novels. (Ludi laughs) and similarly Ravelry might be one of the few places where people who are hobbyists share information, in the knitting and crocheting and yarnmaking community.

LP: Mm.

FK: I’m sure it’s the exception that proves the rule, is what I’m saying.

ELM: The interesting question here though is, what is the aim of all this tagging? What is the aim of the way that you’re organizing? Like Amazon organizes their books in a way…

FK: It is a way.

ELM: That exists…

FK: There is some organizational principle.

ELM: They play at having all these deep subcategories like you know, like “#19 in African American-Football-Paranormal Romance.”

FK: That obviously mean nothing to people.

ELM: Which sounds like the most amazing story that I’m going to write right now. But you know, they don’t care—the question is the people doing the organizing, do they care about the person who needs to seek out this information. Like Amazon doesn’t give a fuck, right?

FK: But they should, right? Isn’t their business helping you find the thing you want to buy?

ELM: Not books. (laughs) But that’s fine. They don’t exist to sell books, Flourish! And I’ve been thinking a lot about this and maybe this is taking it too far afield, but I’ve been thinking about how fanfiction categorizes by emotions, right, and you can explicitly seek that out, so it’s a question of like… I think if you don’t understand that some people read looking for angst or hurt/comfort or fluff or whatever, whatever the equivalents would be in the professionally published world, then you’re not inclined to organize that way but maybe that’s what the person who’s seeking out the information wants, does that make sense?

FK: Right or like—

ELM: This is something that I’ve been thinking a lot about but I don’t know why I’m saying this right now.

LP: No no it’s really interesting cause I think fans are you know, they’re so into their little niche interests or kinks or whatever that fan tagging and fan classification is so highly granular, like it goes into really really specific details so you can find exactly what you want as easily and quickly as you want. And the marketing industry is not geared to that. Even though with the rise of the internet you are able to find, the internet better serves the long tail of what you want more easily, you can find really obscure stuff really easily, I think there’s still a tension with the marketing industry at large. They still kind of, it’s still broadcasting to the masses. You could have a potential really small but dedicated community that’s really heavily into this one product. And I’m not sure that many of them have quite grasped that yet. I don’t know, I’m just spitballing.

FK: This is interesting, it puts me in mind of the fact that Netflix recently made a statement that everybody in the entertainment industry is like “ohhhh!” about which is the same thing I’ve been saying for years, which is that gender and age are not good predictors of what you want to watch. Like, this seems like it should be obvious, right? Gender and age are not very good predictors of what you’re gonna want to watch, with the exception of if maybe you’re like a woman of childbearing age you’re more likely to watch instructional videos about baby care, but actually who knows, right?

ELM: Classic Netflix content.

FK: You could be a 16 year old boy who is like about to have a baby sister or brother, who knows?

ELM: Interesting example.

FK: Anyway, this is funny because it—it blows people’s minds still that this might be the case. That’s like the broadest possible categories.

LP: Yeah, it’s true.

FK: So do you think that library, do you think that libraries and the way that information is organized in there, do you think there are biases that come through from the commercial realm over into that realm?

LP: Oh definitely, definitely. I guess that goes without saying. You’ve gotta be, your books, your collection has gotta be used. You can’t just have books just sitting there or else they’ll just be a waste of space. So they get weeded if no one uses them, if they’re not in circulation. So yeah definitely. And that’s also part of what I’m interested in, is the fanwork as a collection. And as part of human culture, libraries themselves think of it as a throwaway culture. And there’s been a movement now to collect fanzines and have fanzine collections, but this is kind of, you know, the fanzine has had its heyday and it’s kind of trying to catch up with something that’s moved on so very vastly.

And so there are huge holes in libraries where fandom is concerned. And it’s a huge part of our human culture, you can’t deny that. Luckily, fans are doing a lot to preserve their own culture and I have an investment in it, so.

ELM: It sounds like there’s a disconnect though between—I feel like this is a theme we keep coming up against. Fans doing it themselves, we were just talking about this, the big episode about TV and film production, it just seems to be this gap between what the establishment is doing in any of these realms and what fans are mirroring but doing for themselves internally. Which is—or I just went on a rant about this about journalism, cause men keep writing stupid articles about fanfiction. Like, why aren’t fans doing it? But then it’s complicated.

FK: And then we have people like Ludi who are trying to bridge that gap, right?

LP: Yeah, for what it’s worth! Definitely. (laughs)

ELM: It’s worth a lot! So I don’t know, I feel like all three of us are in similar positions and I, I’m really tired right now. So I don’t know how you guys feel.

FK: I’m not tired right now, but.

ELM: Great, you had some coffee!

LP: Yes.

FK: You had coffee too, Ludi!

ELM: I haven’t had coffee yet. So one thing that I do see a lot these days, I think as fan studies gets more visibility—do you identify as a fan studies person?

LP: Not completely, I feel half and half. LIS and fan studies have widely divergent, like, backgrounds and methodologies, you just can’t—

ELM: Cause fan studies is usually, it’s social sciency, right?

LP: Yeah it’s more media and cultural studies, yeah.

ELM: OK. So that aside I think because it’s gotten so much more visibility recently I see a lot of younger people writing saying, realizing that this is like a viable thing now, yeah? —Flourish is waving at these metaphorical, or these imaginary young people.

FK: Yeah! They’re not imaginary, they’re real!

ELM: It’s exciting to think about, I am approaching what will be my 10 year college reunion, if I had known 10 years ago that this was something that I could have studied it might have changed everything, you know?

LP: Mmhm.

ELM: And so I’m wondering if you have any, like, advice or resources, I don’t wanna put you on the spot, but in terms of people beginning their academic journeys and wanting to take this stuff seriously, cause I see a lot of confusion.

LP: It’s a very kind of visceral question for me because I spent a lot of my life just feeling really unhappy with what I was doing and where I was going and then I, I just like, I was so fed up I was like “I want to be a librarian!” Because that’s what I wanted to be originally as a kid, right. So I went back to school and I did the master’s in Library Science and then I got a job as a librarian and then in the space of, the same week as getting the job the PhD proposal acceptance came through and I was like “Wow, I’m doing an information science PhD in fans!” And you know, I still can’t really get over that this is a thing. And if I’m doing this weird subject that I love so much, and I do love it despite sometimes feeling like I want to tear it apart, it’s possible, you know? It’s possible to do this if, I mean, a lot of it is luck and circumstance, I never would have gotten into it if I didn’t have a brilliant supervisor who is both a leader in her field, in the field of information science, and also is a fan herself.

But you know, if it’s something that you’re passionate about, if you’re a fan you go and do it, you write your fic, you make your vids, whatever, if you want to go into the academic area of fan studies it’s there, and if you’re passionate about it do what you do as a fan and go for it. Just try and do it, even if things are rubbish sometimes, sometimes you write crappy fic, but you love it, go for it!

ELM: That was a very positive ending!

FK: Thank you so much for coming on the podcast, Ludi, you’re like a little ray of sunshine!

LP: Aw, thank you, that’s really sweet!

FK: You really are.

LP: Thank you for having me, it’s been an awesome ride. (all laugh)

FK: Bye!

—

This post is an excerpt of a transcript originally published by the Fansplaining podcast on 10 April 2016 on their blog, Fansplaining. The actual interview can be streamed and downloaded from SoundCloud. A version of this blog post was also published on the #citylis blog.

Earlier this month I was thrilled to be present my research so far at the European Fan Cultures conference at Erasmus University, Rotterdam, made possible by the stellar organisation of Simone Driessen, Leonieke Bolderman, and Abby Waysdorf. I was on Panel 2B, the ‘Fans as Gatekeepers’ track; and as it happens, that was pretty much exactly the title of my presentation, which was Fans as gatekeepers: The role of cult media fans in collecting, preserving and sharing fanworks. This presentation summarised the research done for my doctoral thesis so far, particularly focusing on the results of a Delphi study conducted between February and September 2015.

I was initially nervous of presenting my findings, since my background, whilst it is the arts and humanities, is not specifically in fan studies, and my current focus is, as I have mentioned before on this blog, on Library and Information Science (LIS). I therefore cannot pretend to be as familiar with the discipline of fan studies as those who study in the field, and presenting to those who do can be daunting. I need not, however, have worried. The conference included presentations from scholars that represented a wide range of backgrounds, from marketing to psychology to human geography. There was a diversity of theories, methodologies, and practical applications that is rarely seen in other fields; and I think this speaks to the recent growth and huge potential in fan studies to embrace different disciplines – and vice versa. The conference turned out to be a great space of researchers of different backgrounds to share ideas, find unexpected commonalities, and to broaden horizons by opening up one’s peers to possibilities and ways of working that they might not have previously entertained. Even the live tweeting reflected this:

. @LudiPrice coming from a library sciences perspective- her & the Galimberti-Spanó talk earlier suggests the diversity in the field. #efc15

All this helped to dissipate my initial anxiety, as I was pleasantly surprised to realise that there was a warm openness to these different approaches to fan studies, and that my own LIS approach to fan studies was received with interest. Even the explanation of the Delphi study – that research method that no one has ever heard of and takes a million years to explain – was met without too much resistance!

I won’t go into too much detail regarding the presentation – if you’re so inclined, you can view the slides at this link: Fans as gatekeepers EFC15 (best-viewed when played). To summarise both the presentation and the results of the Delphi study, consensus amongst panel members was surprisingly high, and, most gratifyingly, the majority of statements in which the highest confidence was placed was on those that regarded the information behaviour of fans. This means that, amongst the study’s panel, there was an extremely high level of agreement about how fans collect, organise and disseminate fan-related information and fanworks. It became clear, through these results, that information management, sharing and sourcing are all significant aspects of fan activity, but that it is so intrinsic to it that fans aren’t even aware of it as being ‘information work’. This became clear during the question section of the presentation and in conversations afterwards, when audience members shared their own recognition of this being a part of fan practice, but not usually in a self-aware way. This was heartening because it meant that this was an area of research that had little coverage and was worth further investigation.

Lastly, I wanted to add that I was amazed at how much overlap there was between my own research and the research of those present. My own panel included presentations on fans as producers (produsers?) of user-generated content, and on the ‘fan press’ or fan journalism – all of which are concerns of LIS. In a wider context, I was surprised to learn that more than one conference attendee had done past research on fan wikis, and that – put bluntly – I was not alone! Which is always a good feeling.

All in all, I can safely say that the conference was a fantastic experience, with a friendly, welcoming vibe and some great opportunities for networking. Many thanks to the organisers for making this a such a super experience for a first-time presenter and early-career researcher.

In the interests of original research, I’ve removed the previous text of this post.

However, I would like to say that so far the findings have been really interesting, and that the Delphi panel’s responses seem to tending more to a consensus. Fans may not be an homogeneous group, but it appears that there’s a lot they can agree on, especially where their information behaviour is concerned!

I’d like to thank my 31 participants for their amazingly in-depth responses, and for their patience in waiting for me to get Round 2 sent out. They all went above and beyond the call of duty in sharing their lives as fans with me.

I hope to get Round 2 sent out some time next week, or the week after. In the meantime, here’s a link to Mason & Robinson’s (2011) list of sources of inspiration for emerging artists and designers (pp. 167-176) – from my perspective, it’s interesting to compare the inspirations of artists to that of fans. It brings to mind just how much fans also share with creators.

*This blog post is in response to a lecture on publishing and the author, which was part of the #citylis Libraries and Publishing in the Information Age module (INM380).

If there was ever a poster child for self-publishing, fanfiction would probably be it. One could talk for hours about how the internet has ‘democratised’ (self-) publishing and given everyone the potential to have a voice. Not everyone has a voice, of course; but the digital divide is quite another issue and isn’t the object of this post. What is the object is how the internet has given a certain sub-section (or subculture?) of the creative community – fans – a very loud voice. Certainly, when one thinks back and remembers the days when self-publishing was relegated to those who could afford to have their work published by a so-called ‘vanity press’, and compares it to the situation nowadays – when online, indie publishers abound – it’s not so hard to believe that perhaps publishing has been democratised.

Lulu.com’s logo. Source: the-digital-reader.com

To recount a short, personal anecdote – when I was in secondary school, a girl in the class two years below mine got her book self-published. It was a fantasy book, with a lovely cover, that she gave to the English teacher to read. She must’ve been about 13 at the time; I’d just about finished my own first (terrible) novel that I knew would never get to see the light of day (thankfully, as it turns out). I distinctly remember thinking how terribly unfair it was that she could have a book published just because her parents could afford it. Nowadays, she probably would have joined the floods of authors and writers who use online self-publishing sites such as Lulu.

I hope you don’t think I’m taking pot shots at Lulu. Lulu is a great tool for writers who want to get their work out there and who, more importantly, desire the legitimacy that a print book available on the market bestows. But what Lulu can’t do is bestow fanfiction authors with the same privileges – at least not in theory. And what particularly interests me about self-publishing in the so-called Information Age is how it has affected the behaviour of fans, particularly fanficcers.

Some of the first people to migrate to the internet when it first went mainstream were fans (Jenkins, 2006). The internet gave fans the opportunity to congregate in spaces in ways that were not possible in an analogue world. It also gave them a place to share their creations – so-called fanworks – with a much larger audience than was previously achievable. Years before blogging became the rage, FanFiction.net was providing a combined online self-publishing platform and repository for a small but growing number of fans. It is now the biggest fanfiction website in the world.

As a repository and a digital distribution platform, FanFiction.net has been joined by other sites such as Archive of Our Own (AO3) and WattPad. These sites allow amateur writers to share their fanfiction for free, even allowing the ability to add book covers in some cases. This does not provide authors with the prestige of a physical object that the vanity presses may have provided; but the advantages are that you have complete control of your creation – from content organisation through in-built tagging and categorising systems; to the ability to access your readership directly via a comments system or private messaging; to the advantage of recruiting from your readership editors or, as they are known in fan circles, ‘beta-readers’. And all this at the price of no more than simple registration.

Big Bang Press’ logo. Source: www.goodereader.com

Self-publishing of fanfiction has even moved onto social media platforms such as Tumblr and Twitter. Indeed, it seems that fanfiction has never been more visible in its entire history. One only needs to mention 50 Shades of Grey to give an example of fanfic that has subsequently been published and gone mainstream – though only after being completely stripped of all its references to the original work it was based on, The Twilight Saga. And indie publishing houses, such as Big Bang Press, are actively and exclusively recruiting fanfic authors to write original works for them, knowing that some of the most popular of these authors already have a readership numbering in the hundreds, thousands, or even millions (Eddin, 2014).

But this is nothing strictly new.

Fanfic writers have been making the jump to ‘profic’ (or professional fiction) for decades now (Pugh, 2004). What has changed is the way in which fanfic writers have a greater control over their creative output, the readiness with which they can find an outlet for their work, and the easiness with which one might find and maintain a readership. Making the jump to profic is no longer the only way for a serious fanfic writer to gain a wide and influential audience. Part of the success of 50 Shades of Grey was down to the lobbying and active engagement of the fans of the original fanfic, Master of the Universe – for instance, via GoodReads reviews and a mother’s social group, Divalysscious Moms, holding the launch party that got author E. L. James noticed by the traditional publishing industry. (Peckosie & Hill, in press; Souccar, 2014).

But what about fanfic writers who are serious writers and want to make a living from their craft without giving up their original creative vision?

If a fanfic writer is lucky, they may get to work with the producers of a franchise writing licensed novels for a general market (e.g. for the Star Trek novels and Star Wars expanded universe, etc.). But these are written under tight controls and the author is always answerable to the satisfaction of the company it writes for (Pugh, 2004).

So what about actually self-publishing fanfiction?

Self-publishing fanfiction in print form is a controversial concept because if you make money from it, you are liable to receive a cease-and-desist letter from a company for making profit from characters that they own the rights to. Via Lulu, I sell print copies of my fanfiction – but these books are not available on the general marketplace and I get no money for sales made. However, in preparation for a talk on this subject, I became curious to find out whether there was any fanfic being sold on the marketplace, despite the legal issues. So I went onto Amazon, and typed in ‘Rogue and Gambit’ (my ‘fan ship‘ or OTP). I was quickly able to find a book for sale, which, incidentally, appeared to have been self-published through Lulu. I was curious. So I bought the book.

The next morning, thanks to Amazon Prime, the book was in my hands. In it were collected short stories, using a wide variety of characters from the Marvel and DC franchises. No copyright disclaimer was given – copyright was, in fact, claimed by the author herself. I was rather shocked by the blatant disregard for licensing laws; but it made me think. If it’s so easy to fly under the radar like this, how many others are getting away with making money off the intellectual property of others? Does this make even more of a case for the fact that our copyright laws are horribly outdated? (My personal opinion: YES). Should these self-publishing houses and platforms have a duty of care to vet this stuff before it gets published? And lastly, on a related tangent – in the middle of the 50 Shades of Grey furore over inaccurate depictions of BDSM – do publishing houses in general have laxer sensibilities towards fanfic that has been adapted into profic, than they do towards ‘regular’ fiction? Is the bar to quality set higher or lower? Or, indeed, does it even matter?